Sonia Rubinsky is a
player of much talent and great sensitivity.
Her affinity with the music of her native
Brazil is clear (she subsequently moved
to Jerusalem to study – Rubin Academy
– then on to Juilliard for a doctorate).
Her playing is simply superb, be it
in Villa-Lobosian Brazilian nostalgia
or sheer extrovert Latin American inspired
virtuosity.
Bachianas brasileiras
No. 4 continues the series of works
of this title that unite Brazilian music
with a Bachian purity. On the surface
a curious mix, as anyone who has heard
these pieces knows, it is in fact and
inspired one. The achingly nostalgic
Préludio (1941) exemplifies the
pure side of the coin (the appearance
of a Choral as the second movement is
a logical step). Rubinsky projects a
sense of grandeur of architecture in
a piece that lasts 4’33. If the Aria
is solemn too (although more animated
later on), the finale invokes Ginastera
in its abandon, but also calls to mind
the minimalists in its right-hand repeated
patterns. Perhaps a tad more letting
down of the hair is called for than
Rubinsky can manage in the studio (live
something tells me she would pull it
off and bring the house down). Gripping
listening nonetheless.
Carnaval des Crianças
exemplifies Villa-Lobos’ penchant for
writing simple works for children. Yet
the simplicity is born of mastery; these
pieces exude charm and confidence and
are simple exquisitely crafted. And
Rubinsky and Tatjana Rankovich’s playing
more than adequately reflects this.
There is more than a touch of the Debussy
of Children’s Corner here (especially
in the textural transparency of the
fifth movement, ‘As Peripécias
do Trapeirozinho’ – ‘The Little Ragpiper’s
Adventures’). The last piece in this
collection (and the last piece of Francette
et Piá) is for piano duet
and for these Rubinsky is joined by
Tatjana Rankovich (on whom the booklet
is silent). For the Carnival, this final
piece invokes a Children’s Band, and
emerges as appropriately celebrational
here. The collection Francette et
Piá comprises ten pieces
(unfortunately not separately tracked
here). The final duet symbolises the
union of the two persons of the title
(‘Francette et Piá jouent pour
toujours’ – ‘Francette et Piá
play together for ever’). There is something
very appealing about Villa-Lobos’ eloquent
simplicity, folkloristic at times, naïve
at others.
The other collection
on this disc is Simples Coletânea
(‘Simple Collection’). Only three pices
this time, Valse mistica (1917),
Num Berço Encantando (‘In
an Enchanted Cradle’, 1918) and Rhodante
(‘Round Dance’, 1919). Good that the
mystic waltz is as the title directs
without too much shrouding in pedal.
‘In an Enchanted Cradle’ is an enchanting
lullaby.
Naxos has intelligently
programmed a few miniatures to separate
the various collections on this disc.
Poema Singelo (‘Simple Song’)
contains a more turbulent contrastive
section but remains long on charm. Rubinsky’s
refusal to dally pays huge dividends.
A Fiandeira (‘The Spinner’) is
a delightful sound-portrait complete
with wheeling figures. Yet Villa-Lobos
paints his picture sensitively and evocatively
- the voice of the composer is never
in doubt.
Great to round off
the recital with Valsa Romântica
of 1907, a lovely, gentle and melancholy-laden
way to close the disc.
Recommended listening.
The recording is excellent.
Colin Clarke
see also review
by Paul Shoemaker
Sonua Rubinsky, aTatjana Rankovich
(pianos). 